Module1 PPT Aspects of the Novel

PPT B.A.III Rise of the Novel

B.A.III Module 1 : Topic 2 The Aspects Of The novel

B. A. III English Novel Module 1 Topic 2 Aspects of the Novel Introduction B. A. III English Novel Semester V Academic Year 2020-21 Module 1 Topic Aspects of the Novel is the publication of a series of lectures on the English language novel, delivered by E. M. Forster at Trinity College, Cambridge, in 1927. Using examples of classic works by many of the world's greatest writers, he discusses seven aspects which are universal to the novel: Story, Characters, Plot, Fantasy, Prophecy, Pattern, and Rhythm. Forster dismisses the method of examining the novel as a historical development. He first establishes a view that a novel is a story that takes place over a period of time. He stresses the importance of both "flat" and "round" characters. He regards the necessity of plot, which creates the effect of suspense, as a problem by which character is frequently sacrificed in the service of providing an ending to the novel. Fantasy and prophecy are the central aspects of the novel. They provide a sense of the "universal," or spiritual. He dismisses the value of "pattern," by which a narrative may be structured, as another aspect that frequently sacrifices the vitality of character. Forster defines rhythm as "repetition plus variation," and allows for an aesthetically pleasing structure to emerge from the novel. Introduction He defines the novel as "a fiction in prose of a certain extent." He explains seven "aspects": story, characters, plot, fantasy, prophecy, pattern, and rhythm. The Story Forster says that a novel tells a story. A story must be built around suspense—the question of "what happens next?" He thus defines the story as "a narrative of events arranged in their time sequence." Forster adds that a good novel must include a sense of value in the story. According to him The Antiquary by Sir Walter Scott, as an example of a novel that is built on a series of events that narrate "what happens next." Forster refers to Russian novelist Tolstoy's War and Peace as an example that includes value in a narrative of events that unfold over time. Characters In two chapters entitled "People," Forster discusses characterization in the novel. He describes five "main facts of human life," which include "birth, food, sleep, love, and death," and then compares these five activities as experienced by real people to these activities as enacted by characters in novels . He goes on to discuss the character of Moll Flanders, in the novel by Defoe of the same title. Forster focuses on Moll Flanders as a novel in which the form is derived from the development of the main character. Forster distinguishes between flat characters, whose characterization is relatively simple and straightforward, and round characters, whose characterization is more complex and developed. Forster finds advantages in the use of both flat and round characters in the novel. He points to Charles Dickens as an example of a novelist nearly all of whose characters are flat but who nonetheless creates "a vision of humanity that is not shallow." Plot Forster defines plot as a narrative of events over time, with an emphasis on causality. He claims that the understanding of plot requires two traits in the reader: intelligence and memory. He discusses George Meredith is one of England's greatest masters of the plot. He then turns to Thomas Hardy as an example of a novelist whose plots are heavily structured at the expense of the characters. His characters are drawn to fit the measure of the plot and therefore lack a life of their own. He asserts that "nearly all novels are feeble at the end," because the dictates of plot require a resolution. He adds that "death and marriage" are the most convenient recourse of the novelist in formulating an ending. He provides the example of André Gide's Les Faux monnayeurs as a novel in which the author attempted to do away with plot completely. It is nonetheless an essential aspect of the novel. Fantasy Forster asserts that two important aspects of the novel are fantasy and prophecy, both of which include an element of mythology. Using the novel Tristram Shandy, by Sterne, Forster claims even novels that do not include literal elements of the supernatural may include an implication that supernatural forces are at work. He lists some of the common devices of fantasy used by novelists, "such as the introduction of a god, ghost, angel, or monkey, monster, midget, witch into ordinary life." He goes on to discuss the devices of parody and adaptation as elements of fantasy, which, are especially useful to talented authors who are not good at creating their own characters. He points to Joseph Andrews, by Henry Fielding, which began as a parody of Pamela,by Richardson. He goes on to the example of Ulysses, by James Joyce, which is an adaptation from the ancient text the Odyssey, based on Greek myth. Prophecy Forster describes the aspect of prophecy in a novel as "a tone of voice" of the author, a "song" by which "his theme is the universe". He notes that the aspect of prophecy demands "the suspension of a sense of humor." He then compares Dostoevsky to George Eliot. Both express a vision of the universal in their novels, Eliot ends up being preachy, whereas Dostoevsky successfully expresses a "prophetic song" without preaching. Forster confesses that there are only four writers who succeed in creating prophetic novels: Dostoevsky, Melville, D. H. Lawrence, and Emily Bronte. He points to D. H. Lawrence as the only living novelist whose work is successfully prophetic. Pattern and Rhythm Forster describes the aspect of pattern in the novel in terms of visual art. He determines that pattern adds an aesthetic quality of beauty to a novel. Forster then discusses the novel The Ambassadors, by Henry James, which, sacrifices the liveliness of the characters to the rigid structure of an hourglass pattern. Forster concludes that the problem of pattern in novels is that it "shuts the door on life." He describes The aspect of rhythm, as "repetition plus variation". He describes the multi-volume novel Remembrance of Things Past, by Marcel Proust, as an example of the successful use of rhythm. Forster concludes that rhythm in the novel provides a more open-ended narrative structure without sacrificing character. Round Character Definition A character is said to be "round" if they are lifelike or complex. Round characters typically have fully fleshed-out and multi-faceted personalities, backgrounds, desires, and motivations. Jay Gatsby in F. Scott Fitzgerald's The Great Gatsby is a round character. Features of characters: • The opposite of a round character is a flat character, or a character who lacks complexity and therefore doesn't seem true to life. • Protagonists are often round characters simply because readers know a lot about them, but any character in a story can be round. • Just because a character is round doesn't necessarily mean that they are interesting, likable, or well-written. It just means that they are multi-dimensional. • It is capable of surprising in a convincing way. If it never surprises, it is flat. Dynamic Character A dynamic character is one that undergoes substantial internal changes as a result of one or more plot developments in a story. The dynamic character's change can be extreme or subtle, as long as his or her development is important to the plot or themes. • "Round" refers to a character's complexity: A round character will have multiple facets to their personality. It would be difficult to describe a round character using a couple of adjective or a single sentence. Like real people, they're complicated, and sometimes their desires and motivations are contradictory. Flat Character • Flat characters can be easily and accurately described using a single word (like "bully") or one, short sentence (like "A naive and idealistic schoolteacher with a fragile heart of gold"). • The important thing about flat characters is that they never transcend or break with the formula that defines them. Flat characters are often necessary to move the plot forward, or to make round characters stand out by comparison. • Flat characters are particularly common in works that don't emphasize character development. For eg. flat character Mrs. Micawber in Charles Dickens' novel David Copperfield.

B.A. III Module 1 The Rise Of The Novel

B. A. III English Novel Semester V Academic Year 2020-21 Module 1 Types of the Novel There are two main classes of fictional prose. 1. Tale or Romance: It depends on the incident and adventure for its chief interest. 2. Novel: It depends more on the display of character and motive. The novel is more complicated than tale. The took birth in 16th and 17th centuries and reached a great height in the age of Pope and Dr. Johnson. The group of the first four novelists of the Augustan Age or Neo- classical age : Samuel Richardson, Tobias Smolett, Henry Fielding and Sterne, in whose hands novel blossomed, are called the four wheels of English Novel Factors Responsible: The following are the reasons responsible for the rise of the novel in 18th century. Rise of Middle Class: The literature of the 17th century flourished under the patronage of upper middle class. The 18th century English society witnessed the rise of upper middle class. Because of tremendous growth in trade and commerce, the English merchant class was becoming wealthy and this newly rich class wanted to excel in the field of literature too. This class was neglected by high- born writers and their tastes and aspirations were expressed by the novelists of the time. The novel was, in fact, the product of middle class. With the rise of middle class, hence the rise of the novel was quite natural. News Papers & Magazines: In the 18th century, the appearance of newspapers and magazine attracted a large number of readers from the middle class. These new readers had little interest in the romances and tragedies which had interested the upper class. Thus a need for a new type of literature rose and that would express the new ideas of the 18th century and this new type of literature was none but novel. The Spectator andv The Tatlor, these periodicals increrased the reading habits of the middle classes and paved the way fopr the developmenty of English Novel. Rise of Realism: The 18th century literature was characterised by the spirit of realism and romantic features like enthusiasm , passion ,imaginations etc. declined in this period. Reason, intellect, correctness, satirical spirit etc. were main characteristics of the 18th century literature. The English had all these characteristics. Role of Women: In the 18th century, the women of upper classes and middle classes could partake in a few activities of men. Although they could not engage themselves in administration, politics, hunting, etc., hence, in their leisure time, they used to read novels. Decline of Drama: The decline of drama also contributed to the development of the novel in the 18th century, drama lost the fame it had in the Elizabeth Age. It did not remain an influential f literary form. Hence some others had to take its place and its place was filled by the English novel after 1740. Thus the decline of drama led to the rise the of English novel.